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Hindu and Buddhist Monuments and Remains in South-East Asia / Khanna, Amar Nath
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Hindu and Buddhist Monuments and Remains in South-East Asia
Khanna, Amar Nath
 
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  Book ID : 33764
  ISBN-10 : 81-7305-348-0 / 8173053480
  ISBN-13 : 978-81-7305-348-1 / 9788173053481
  Place of Publication : Delhi
  Year of Publication : 2008
  Edition : (First Edition)
  Language : English
  xxviii, 178p., 42 Col. & 63 B/W Plts., 3 Maps, App., Bib., Index, 29 cm.
   
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 CONTENTS
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CONTENTS:- 1. Cultural interface of India with South-East Asia. Myanmar (Burma): 2. Sri Ksetra. 3. Bagan (Pagan). 4. Mandalay. 5. Yangon (Rangoon). Thailand (Siam): 6. Dvaravati. 7. Nakhon Si Thammarat (South Thailand). 8. Chaiya (South Thailand). 9. Nakhon Ratchasima (Khorat) (North-East Thailand). 10. Sukhothai and Phitsanulok. 11. Si Satchanalai. 12. Chiang Mai. 13. Ayutthaya. 14. Bangkok. Cambodia (Kambuja): 15. Fu-Nan. 16. Cambodia. 17. Angkor Wat. 18. Angkor Thom. 19. Benteay Srei. 20. Preah Khan. 21. The Bayon. Laos (Lava): 22. Laos. 23. Luang Prabang. 24. Vientiane. 25. Champassak and Wat Phou. Vietnam: 26. Champa. 27. Vietnam. 28. My son: Central region of Vietnam. 29. Da Nang (Central Vietnam). 30. Phan Thiet. 31. Phan Rang. Malaysia: 32. Malaysia. 33. Kedah. 34. Bujang Valley. 35. The Kinta Valley (Perak). 36. Gunung Santubong (Sarawak, Malaysia). Singapore (Simhapura): 37. Singapore. 38. The Asian civilisations museum and the national museum, Singapore. Indonesia: 39. Indonesia. 40. Caitra Festival (Bubat, Sumatra). 41. Borobudur, Java. 42. Prambanan, Java. 43. The Javanese gold: the Wonoboyo Hoard. 44. Banten (West Java). 45. Bali. 46. Lombok. Sultanate of Brunei, Malaysia and Indonesia: 47. Borneo (Barhina-Dvipa) Muara Kaman, District Koti. The Philippines: 48. Manila.
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 DESCRIPTION
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Indian religious art and culture have exercised an extraordinary influence on South-East Asia (earlier called Greater India or Further India). All across South-East Asia, Indian religious world inspired the raising of astonishing monuments, some of which remained unequalled even in the mother country.

The Sailendra (Lords of Mountains) rulers of Java (Indonesia) built the magnificient ninth century Mahayana Buddhist stupa of Borobudur, the largest Buddhist monument in the world and an invaluable heritage of mankind. At a short distance was built the great Hindu complex of Prambanan. In central Myanmar, more than 2000 red-brick temples and monuments mark the city of Pagan, for 400 years the capital of people who also dedicated much of their labour and wealth to the service or their faith. Angkor in Cambodia can boast of the world's largest religious monument and most inspired and spectacular temple complex in the world, which is dedicated to Vishnu. Ayutthaya, a vast and majestic city of Thailand, has 400 splendid temples, In Vietnam, three important groups of temples are my son, Dong Duong and Po Nagar, the second being Buddhist and the other two Saivite. The first royal Sivalinga in South-East Asia was established at my son and the oldest Sanskrit inscription was found in a village called Vo Canh near Nha Trang in the southern part of Vietnam. Wat Phou is Laos' own mini-Angkor. It preserves the glory of Hinduism far away from the land of its origin, the Indian sub-continent.

To know Indian art in India alone, is to know but half its story. To apprehend it to the full; one must watch it assuming new forms and breaking into new beauties as it spreads over Myanmar, Thailand and Vietnam; one must gaze in awe at the unexampled grandeur of its creation in Cambodia and Java. In each of these countries, Indian art encounters a different racial genius, a different local environment, and under their modifying influence it takes on a different garb. Therefore the art of each and everyone of these countries is complimentary to the rest and a knowledge of each, such as this book provides, is indispensable to our understanding of the whole.

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